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15. 04.2005
On the Cover: Desert Nomad House, by Rick Joy Architects.
Photograph by Jeff Goldberg/ESTO
Right: Turbulence House, by Steven Holl. Photograph by Paul Warchol
News 170 BR House, Brazil by David S. Morton*
Marcio Kogan Architect
33 Thom Mayne wins Pritzker Prize
176 Solar Umbrella House, California by Deborah Snoonian, P.E.*
37 Drama over Trump’s Chicago tower
Pugh + Scarpa
Departments 182 Turbulence House, New Mexico by Clifford A. Pearson*
Steven Holl Architects
19 Editorial: And in 100 Years? 188 Big Sur House, California by Suzanne Stephens*
23 Letters* Fougeron Architecture
69 Dates & Events* 194 Shark Alley House, New Zealand by Sarah Amelar*
95 Archrecord2: For the emerging architect by Randi Greenberg* Fearon Hay
101 Critique: Architecture as Metaphor by Robert Campbell, FAIA 200 Layer House, Japan by Naomi Pollock*
Hiroaki Ohtani
105 Books: Looking at the Modern house
206 Casa Travella, Switzerland by Philip Jodidio*
267 Record House of the Month by Sara Hart*
Aldo Celoria
Features To see six unbuilt houses, including renderings, models and drawings,
go to Building Types Study at architecturalrecord.com.
116 Five Cubes and a Blimp by Sam Lubell
Pure and eloquent, miniature dwellings offer escape.
132 The Long Journey Back: 50 Years of Record Houses
Architectural Technology
by Sarah Amelar 215 High-Performing Envelopes Demand Know-How
Taking a look in the rearview at the evolution of an issue. by Nancy B. Solomon, AIA*
New initiatives help architects apply technology to envelope design.
Projects 225 Tech Briefs by Ted Smalley Bowen*
145 Record Houses 2005 by Robert Ivy, FAIA*
146 Desert Nomad House, Arizona by Clifford A. Pearson*
Products
Rick Joy Architects 231 Materials
154 Second Plate, Japan by Naomi Pollock* 239 Product Briefs
Urban Fourth 246 Product Literature
164 Hill House, Nova Scotia by Jane F. Kolleeny*
Brian MacKay-Lyons Architect 248 Reader Service* 254 AIA/CES Self-Report Form*
* You can find these stories at www.architecturalrecord.com, including expanded coverage of Projects, Building Types Studies, and Web-only special features.
The AIA/ARCHITECTURAL RECORD
Continuing-Education Opportunity is “High-Performing Envelopes Demand Know-How” (page 215).
04.05 Architectural Record 13
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22. Editorial
hills, is the future. Having embraced the forms of the past in For architects, and for smart clients, it is possible to
today’s structures, can we discern any directions for growth, foresee houses that provide significant energy on their own and
any positive movement within architecture, or are such hopes minimize their impact on the land (as Pugh + Scarpa’s Solar
illusory in our through-the-looking-glass era? What bases can Umbrella House in Los Angeles does). It is even possible to see,
we build our homes on for the future? Look to Record Houses in that house particularly, the attempts at a new aesthetic, one
for clues. Look hard. that simultaneously embodies strong ideas about our place in
Begin with nature. The architectural photography that the world and our responsibilities to the world in its physical
our annual April issue celebrates, along with the private house, fabric and form. Could the awareness of climate change
depicts an exquisitely fragile world. The physical laws do not or the price of natural gas provoke the evolution of the Record
change, yet our environmental conditions, including the ample House, or does radical change in sensibility only come about
sunlight and shifting vagaries of rain, wind, and tide, are chang- through necessity?
ing at a frightening rate. In his best-selling book, Collapse, We admit that Record Houses aestheticizes the indi-
author Jared Diamond has described how earlier civilizations vidual, freestanding house. We’ve been doing so for half a
failed, citing a litany of reasons, including deforestation, soil century. The larger questions of relationship and urban plan-
depletion, water management problems, and human population ning lie outside these pages. However, powerful images can free
growth, among others. Analogies with our own civilization are the mind, allowing it to wander and to speculate. The houses
pronounced, though not definitive. that you see, and the underlying issues that you do not, beg a
The basis of a new theoretical framework for architec- question of fundamental importance, one that the next genera-
ture may lie in realizing the fact that much of our own world’s tion of architects may respond to: What will be the theoretical
future lies within our hands, and building accordingly. Not the framework for the house of the future? Will we want to cele-
environmentalism born of sentimentality. We went down those brate a centennial?
roads in the 1970s, complete with Birkenstocks and the
Grateful Dead, and they are too readily abandoned. Sentiment
is the most easily discarded emotion. (Who among us, in all
honesty, separates the trash out of deep feeling?) Necessity,
instead, demands strong change. The high cost of energy in
Europe, for example, coupled with a powerful lobby of workers,
has forced governments to demand efficient, productive work-
places. In the United States, with oil in excess of $50 per barrel
and gasoline approaching $3 per gallon, will we be far behind?
AR was the proud recipient of a National Magazine Award for General Excellence, 2003
20 Architectural Record 04.05
TLFeBOOK
24. Why is this house and
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25. TERRART ®
Letters ARCHITECTURAL TERRACOTTA
Environmental disconnect courthouses, but no matter. The
In his February Critique, Michael larger point about the need to keep
Sorkin praises the National Museum pursuing true design excellence in
of the American Indian (NMAI) for its an environment that may want to
exterior, with its curved stone walls tug us all back into mere “optimiza-
and their link to Native American tion” (at best) is the key.
forms [page 59]. While convincing My compliments, too, on the
with regard to the facade, the cri- March issue in general and its
tique overlooks one main aspect “Modernism’s Reign in Spain.”
of the project: the presence of and Absolutely terrific. A joy to see
impact on the environment. some of this work. It is the most
Living in the environmentally stirring single issue in memory.
conscious age that we are, it is our Your correspondent in Madrid,
responsibility as architects and David Cohn, did a great job. Façade design with
architectural writers always to con- Again, my compliments. A large-format
sider how a building plays into and terrific editorial and a terrific issue. ceramic elements
affects the surrounding environment. —Todd S. Phillips, AIA for a unique
In keeping with Native American tra- Middleburg, Va. architectural style.
ditions, it would seem fitting for the
materials used to be natural and In search of compatibility Progress through diversity.
local. Sorkin mentioned only one One of your photo captions for the
natural material, and that was the Teatro El Musical in Valencia [March
limestone used for the facade. The 2005, page 86] is quite curious. The
NMAI was described as a curvilinear caption claims that the building’s
building within a setting of orthogonal facade “respects the surrounding
buildings. According to the article, the built context.” Essentially absent any
way the museum fights the rationale remote semblance of scale, propor-
that surrounds it is symbolic of Native tion, material, or even floor level,
American heritage. I agree with this would you please explain exactly
assessment, although I feel that the where the announced “respect” is?
Native American’s way of life was not Ironko window frames? Stark con-
integrated enough into this design. trast is not a sign of respect, no
Historically, their lives were connected matter how you want to define it.
to nature in every way. This building As urban recovery expands in
may be a success as a museum, the U.S., the key element—as yet
but not as a design that reflects the unanswered by the profession of
Native American way of life. architecture—is “compatibility.”
—Stacy A. Hassell Contemporary/compatible is yet to
Roger Williams University be seriously addressed, much less
www.nbk.de
Bristol, R.I. clearly defined. The result is growing
visual nonsense.
March assessment A well-researched article on NBK Keramik GmbH & Co. KG
Robert Ivy’s March editorial about Ed the subject with ample examples Reeser Str. 235
Feiner’s departure from the General would address the dilemma and at D-46446 Emmerich · Germany
Services Administration and looking least put some sense in the wide- Phone +49 (0) 28 22 / 81 11- 0
ahead now [page 17] struck a beauti- spread arguments between the Fax +49 (0) 28 22 / 81 11 - 20
fully tuned balance between optimism historics and the sincere developers. E-Mail: info@nbk.de
and vigilance. Both will certainly be And please don’t mimic the
needed at this time. This next itera- government’s edict by the Secretary National Sales Manager,
tion of civic architecture is in for quite of the Interior’s Standards as they U.S.A. F.J. „Bud“ Streff, jr.
a ride, I think. I wish I could agree with entirely avoid the “compatible” Massachusetts (MA) U.S.A.
Ivy about Richard Meier’s “stunning” question by merely suggesting stark Phone (7 81) 6 39 - 26 62
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27. Letters
Tara Classic Profi
MeiréundMeiré
Professional functionality
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contrast to separate old and new. paintings beautifully displayed,
—Owen Kugel go look at the Prado in Madrid.
Lancaster Pa. —Frederick Farme
retired architect
Making noise about noise Via e-mail
I was extremely pleased to read Sara
Hart’s recent article about urban Where the art is
noise [February 2005, page 143]. The review of the dazzling new 21st
I see this subject as being as signifi- Century Museum of Contemporary
cant as the other forms of pollution Art in Kanazawa, Japan [February
that are steadily being eliminated. 2005, page 88] caught me off
Accordingly, I strongly support guard with the quote, “In the U.S.,
ARCHITECTURAL RECORD’s intention you do not find installations like
to raise the awareness of the archi- these.” This is a woefully absolute
tectural community to address this statement in an article about a new
rising challenge. More media atten- contemporary art museum. I believe
tion on this subject will benefit us all. one of the first showings, if not the
Architects are well positioned first showing, of Leandro Ehrlich’s
to guide improvements—whether Swimming Pool was in the humble
through the development and use of Glassell School of Art in Houston in
advanced construction materials, the late 1990s. Texas alone has
systems, and techniques; policy and several enviable permanent instal-
legislation advocacy and develop- lations of late-20th-century-to-
ment; or local awareness building. contemporary art; for example, the
Increasingly, though, as urban noise is Chinati Foundation in Marfa (Judd,
rapidly invading the rural landscape, Flavin, Chamberlain, Kabakov), the
it will require a much more systemic Museum of Fine Arts in Houston
solution than merely those that relate (Turrell), Live Oak Friends Meeting
to construction. And since legislation House in Houston (Turrell), and the
without effective enforcement is Nasher Sculpture Center in Dallas
meaningless, perhaps larger-scale (Turrell, Serra, etc.).
environmental-noise-cancellation Additionally, much of the
technology is where a solution may artwork featured in the article’s
need to be found. In the meantime, I photographs is not identified,
will continue to sleep with earplugs though the works’ installation is
as the most effective possible strat- claimed to be significant. This
egy to protect my precious “zeds.” lack of acknowledgement of the
—Wayne Ruga, AIA works within this inventive building
Manchester, England leaves this reader feeling only
partially informed.
Museum keeps to the wings —John Reeves
Armaturen.Accessoires.Interiors.Culture Projects.
In his concluding paragraph review- Sabatini Architects
ing the Rheinisches Landesmuseum Lawrence, Kans.
[February 2005, page 80], Philip
Jodidio states, “By no means perfect, Corrections: Asheville: BIRD DECORATIVE HARDWARE & BATH, Phone (828) 210-0280.
the Rheinisches Landesmuseum is The photograph of Philip Johnson in San Francisco: THE BATH & BEYOND, Phone (415) 552-5001.
nonetheless an exemplary counter- the March issue [page 23] should
weight to the flights of architectural have been credited to Luca Vignelli.
hubris seen in other recently In the February interview with Jim
designed museums.” Amen. Are you Cutler [page 72], the city location
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36. Record News
Teams vie to design new
Midtown Manhattan train station
After years of false starts, the con- Properties with Jones Lang LaSalle,
version of New York’s Central Post and The Related Companies with
Office into a major train station in Vornado Realty trust.
Midtown Manhattan appears to be The $600 million project, cen-
moving closer to reality, with teams tered around a 4-million-square-foot
vying to develop the space. transportation facility, may serve
On February 24, the Empire commuters for the Metropolitan Although not identified with specific teams, designs call for office space, like
State Development Corporation Transportation Authority or New Jersey the tower above, and for retail and public amenities, as seen below.
announced it was choosing among Transit. Other elements are 750,000
several proposals for the new square feet of office and commercial a curved glass-and-steel canopy
“Moynihan Station” (named for the development and 250,000 square that will arch over the new station.
late New York Senator Daniel Patrick feet for the U.S. Post Office. The proposals also include designs
Moynihan, a staunch proponent of Because of competition rules, for office towers, including a smooth
the project), which will be built in and renderings could not be identified glass structure with an extruding
around the Farley Post Office build- with teams’ bids, and teams could central envelope, and a thin tower
ing, just west of Penn Station on 8th not comment, but proposals that covered with a regimented pattern
Avenue. Submitted designs came have been released preserve much of steel beams.
from Foster and Partners, Cesar Pelli of the existing Beaux-Arts post office Winners are scheduled to be
Associates, Robert A.M. Stern space and call for large interior chosen early this summer, and
Architects, Kohn Pedersen Fox, and spaces made up of retail and public development is expected to begin
HOK. Development teams include circulation. All incorporate David shortly afterward, with completion
Boston Properties, Tishman Speyer Childs, FAIA’s “potato chip” structure, in 2010. S.L.
I M A G E S : C O U R T E SY E M P I R E S TAT E E C O N O M I C D E V E LO P M E N T C O R P O R AT I O N ( TO P ) ; M O R P H O S I S ( B OT TO M )
The dome’s interior is designed to the jury. “It was a very sophisticated
collect natural light and provide views. and transparent process,” notes
Statsny. “It’s rare that you have this
in the rotunda, where, etched into much public interaction.”
the dome’s glazed interior, are words “We have just begun the
from the state’s constitution. The process of making our capitol truly
interior is designed to collect natural Alaskan,” says Mike Mense, the
light, simultaneously providing views Alaska associate on the Mayne-led
of the summit of Mt. Juneau. Mindful design team. Mense, a resident of the
of Alaskan’s reverence for the land, state since 1976, explains that his
the capitol is intended to “symbolize firm, mmense Architects, will help to
the nature and vastness of Alaska.” educate the team on the unique and
Uncomfortable with the “futur- harsh weather conditions that affect
istic” designs submitted by finalists, building. “But I think my much more
residents voiced their opinions on important task is to infuse our design
Morphosis chosen to design Alaska Capitol the official Alaska Capitol Web site with the spirit of Alaska,” he adds.
and in local newspapers. The capitol Juneau Mayor Bruce Botelho
Alaska, the 49th state, will soon dome, is only a rough sketch. “This should “not stand out like a sci-fi wants to see the building con-
have a new capitol to call its own. is literally just the beginning,” says exhibit,” noted one resident in the structed at about $100 million by
On March 1, a jury selected red-hot Mayne, who focused most of his jury Juneau Empire. Many have referred 2009, for the state’s 50th anniver-
firm Morphosis (its principal, Thom presentation on the history of the to the Morphosis dome as looking sary. Considering it’s taken 46
Mayne, FAIA, just won the Pritzker dome as a symbol of the nation. like an “egg.” years to get this far, the mayor’s
Prize; see page 33) to design Out of four finalists, including Donald Statsny, FAIA, competi- goal seems ambitious. But Mayne
the building for the capital city of Moshe Safdie and Associates, tion manager and adviser, says the believes Alaskans are indeed ready.
Juneau. Given just a few weeks to Yazdani Studio of Cannon Design, proceedings invited public input, “This is the last capitol to be built in
develop a concept in Stage III of the and NBBJ, Morphosis’s entry was the including the submission of ideas for the States,” he says. “They are very
competition, Mayne says his design, only one that included a dome. The the building. Residents were even serious about this. I see it all hap-
which features a 150-foot glass Morphosis design locates the “heart” encouraged to apply for a seat on pening quickly.” Allison Milionis
34 Architectural Record 04.05
TLFeBOOK
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![CEILING SYSTEMS
[ Between us, ideas become reality.™]
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Airports, just like all signature buildings, use architecture and design to take the mind on a memorable
journey. That’s why we’ve created a sophisticated portfolio of MetalWorks™ and WoodWorks™ ceilings
and Infusions™ accent canopies. Whatever your final destination, we can help you arrive in style.
1-877-ARMSTRONG armstrong.com/ceilings
METALWORKS WOODWORKS INFUSIONS
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